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Cultural China is a unique annual publication for up-to-date, informed, and accessible commentary about Chinese and Sinophone languages, cultural practices, politics and production, and their critical analysis. It builds on the University of Westminster's Contemporary China Centre Blog, providing additional reflective introductory pieces to contextualise each of the eight chapters. The articles in this Review speak to the turbulent year that was 2020 as it unfolded across Cultural China. Thematically, they range from celebrity culture, fashion and beauty, to religion and spirituality, via language politics, heritage, and music. Pieces on representations of China in Britain and the Westminster Chinese Visual Arts Project reflect our particular location and home. Many of the articles in this book focus on the People's Republic, but they also draw attention to the multiple Chinese and Sinophone cultural practices that exist within, across, and beyond national borders. The Review is distinctive in its cultural studies-based approach and contributes a much-needed critical perspective from the Humanities to the study of Cultural China. It aims to promote interdisciplinary dialogue and debate about the social, cultural, political, and historical dynamics that inform life in Cultural China today offering academics, activists, practitioners, and politicians a key reference with which to situate current events in and relating to Cultural China in a wider context.
Cultural China is a unique annual publication for up-to-date, informed, and accessible commentary about Chinese and Sinophone languages, cultural practices, politics and production, and their critical analysis. It builds on the University of Westminster’s Contemporary China Centre Blog, providing additional reflective introductory pieces to contextualise each of the eight chapters. The articles in this Review speak to the turbulent year that was 2020 as it unfolded across cultural China. Thematically, they range from celebrity culture, fashion and beauty, to religion and spirituality, via language politics, heritage, and music. Pieces on representations of China in Britain and the Westminster Chinese Visual Arts Project reflect our particular location and home. Many of the articles in this book focus on the People’s Republic of China, but they also draw attention to the multiple Chinese and Sinophone cultural practices that exist within, across, and beyond national borders. The Review is distinctive in its cultural studies-based approach and contributes a much-needed critical perspective from the Humanities to the study of cultural China. It aims to promote interdisciplinary dialogue and debate about the social, cultural, political, and historical dynamics that inform life in cultural China today, offering academics, activists, practitioners, and politicians a key reference with which to situate current events in and relating to cultural China in a wider context.
China in the Era of Social Media discusses how social media is changing the world in an unprecedented way through speed, scope, and depth. In the last decade or so, social media in China has witnessed the most explosive growth in the world. Being the most populous nation in the world, it has the most social media users in the world as well. This book examines the current situation and unique characteristics of Chinese social media, the significance of social media in the country’s social transformation, and particularly its influences on political change in the nation. The main goal of this book is to explore how social media has been affecting and thus changing China’s political system, the ruling communist ideology, and the state-run media, as well as its public discourse and public opinions. Scholars of Asian studies, political science, and communications will find this book particularly interesting.
A startling look at revolutionary rhetoric and its effects Now known to the Chinese as the "ten years of chaos," the Chinese Cultural Revolution (1966–76) brought death to thousands of Chinese and persecution to millions. In Rhetoric of the Chinese Cultural Revolution Xing Lu identifies the rhetorical practices and persuasive effects of the polarizing political language and symbolic practices used by Communist Party leaders to legitimize their use of power and violence to dehumanize people identified as class enemies. Lu provides close readings of the movement's primary texts—political slogans, official propaganda, wall posters, and the lyrics of mass songs and model operas. She also scrutinizes such ritualistic practices as the loyalty dance, denunciation rallies, political study sessions, and criticism and self-criticism meetings. Lu enriches her rhetorical analyses of these texts with her own story and that of her family, as well as with interviews conducted in China and the United States with individuals who experienced the Cultural Revolution during their teenage years. In her new preface, Lu expresses deep concern about recent nationalism, xenophobia, divisiveness, and violence instigated by the rhetoric of hatred and fear in the United States and across the globe. She hopes that by illuminating the way language shapes perception, thought, and behavior, this book will serve as a reminder of past mistakes so that we may avoid repeating them in the future.
In this book, Marcella Szablewicz traces what she calls the topography of digital game culture in urban China, drawing our attention to discourse and affect as they shape the popular imaginary surrounding digital games. Szablewicz argues that games are not mere sites of escape from Real Life, but rather locations around which dominant notions about failure, success, and socioeconomic mobility are actively processed and challenged. Covering a range of issues including nostalgia for Internet cafés as sites of youth sociality, the media-driven Internet addiction moral panic, the professionalization of e-sports, and the rise of the self-proclaimed loser (diaosi), Mapping Digital Game Culture in China uses games as a lens onto youth culture and the politics of everyday life in contemporary China. Based on ethnographic fieldwork conducted between 2009 and 2015 and first-hand observations spanning over two decades, the book is also a social history of urban China’s shifting technological landscape.
China's rise as an economic superpower has caused growing anxieties in the West. Europe is now applying stricter scrutiny over takeovers by Chinese state-owned giants, while the United States is imposing aggressive sanctions on leading Chinese technology firms such as Huawei, TikTok, and WeChat. Given the escalating geopolitical tensions between China and the West, are there any hopeful prospects for economic globalization? In her compelling new book Chinese Antitrust Exceptionalism, Angela Zhang examines the most important and least understood tactic that China can deploy to counter western sanctions: antitrust law. Zhang reveals how China has transformed antitrust law into a powerful economic weapon, supplying theory and case studies to explain its strategic application over the course of the Sino-US tech war. Zhang also exposes the vast administrative discretion possessed by the Chinese government, showing how agencies can leverage the media to push forward aggressive enforcement. She further dives into the bureaucratic politics that spurred China's antitrust regulation, providing an incisive analysis of how divergent missions, cultures, and structures of agencies have shaped regulatory outcomes. More than a legal analysis, Zhang offers a political and economic study of our contemporary moment. She demonstrates that Chinese exceptionalism-as manifested in the way China regulates and is regulated, is reshaping global regulation and that future cooperation relies on the West comprehending Chinese idiosyncrasies and China achieving greater transparency through integration with its Western rivals.
Red Creative is an exploration of China's cultural economy over the last twenty years, particularly through the lens of its creative hub of Shanghai. The research presented here raises questions about the nature of contemporary 'creative' capitalism and the universal claims of Western modernity, offering new ways of thinking about cultural policy in China. Taking a long-term historical perspective, Justin O'Connor and Xin Gu analyze the ongoing development of China's cultural industries, examining the institutions, regulations, interests, and markets that underpin the Chinese cultural economy and the strategic position of Shanghai within it. Further, the authors explore cultural policy reforms in post-colonial China and articulate Shanghai's significance in paving China's path to modernity and entry to global capitalism. In-depth and illuminating, Red Creative carefully situates China's contemporary cultural economy in its larger global and historical context, revealing the limits of Western thought in understanding Chinese history, culture, and society.
The Cultural Revolution was an emotionally charged political awakening for the educated youth of China. Called upon by aging revolutionary Mao Tse-tung to assume a “vanguard” role in his new revolution to eliminate bourgeois revisionist influence in education, politics, and the arts, and to help to establish proletarian culture, habits, and customs, in a new Chinese society, educated young Chinese generally accepted this opportunity for meaningful and dramatic involvement in Chinese affairs. It also gave them the opportunity to gain recognition as a viable and responsible part of the Chinese polity. In the end, these revolutionary youths were not successful in proving their reliability. Too “idealistic” to compromise with the bourgeois way, their sense of moral rectitude also made it impossible for them to submerge their factional differences with other revolutionary mass organizations to achieve unity and consolidate proletarian victories. Many young revolutionaries were bitterly disillusioned by their own failures and those of other segments of the Chinese population and by the assignment of recent graduates to labor in rural communes. Educated Youth and the Cultural Revolution in China reconstructs the events of the Cultural Revolution as they affected young people. Martin Singer integrates material from a range of factors and effects, including the characteristics of this generation of youths, the roles Mao called them to play, their resentment against the older generation, their membership in mass organizations, the educational system in which they were placed, and their perception that their skills were underutilized. To most educated young people in China, Singer concludes, the Cultural Revolution represented a traumatic and irreversible loss of political innocence, made yet more tragic by its allegiance to the unsuccessful campaign of an old revolutionary to preserve his legacy from the inevitable storms of history.
This book examines China’s contemporary global cultural footprints through its recent development of cultural diplomacy. The volume presents an alternative analytical framework to examine China’s cultural diplomacy, which goes beyond the Western-defined concept of ‘soft power’ that prevails in the current literature. This new approach constructs a three-dimensional framework on Orientalism, cultural hegemony and nationalism to decipher the multiple contexts, which China inhabits historically, internationally and domestically. The book presents multiple case studies of the Confucius Institute, and compares the global programme located around the world with its Western counterparts, and also with other Chinese government-sponsored endeavours and non-government-initiated programmes. The author aims to solve the puzzle of why China’s efforts in cultural diplomacy are perceived differently around the world and helps to outline the distinctive features of China’s cultural diplomacy. This book will be of much interest to students of diplomacy, Chinese politics, foreign policy and International Relations in general.
Cultural China is a unique annual publication for up-to-date, informed and accessible commentary about Chinese and Sinophone languages, cultural practices, politics and production, and their critical analysis. It builds on the University of Westminster’s Contemporary China Centre Blog, providing additional reflective introductory pieces to contextualise each of the seven chapters. The articles in this Review speak to the challenging and eventful year that was 2021 as it unfolded across cultural China. Thematically, they range from health and medicine, environment, food, children and parenting, via film, red culture and calls for action. Many of the articles in this book focus on the People’s Republic of China, but they also draw attention to the multiple Chinese and Sinophone cultural practices that exist within, across, and beyond national borders. The Review is distinctive in its cultural studies-based approach and contributes a much-needed critical perspective from the Humanities to the study of cultural China. It aims to promote interdisciplinary dialogue and debate about the social, cultural, political, and historical dynamics that inform life in cultural China today, offering academics, activists, practitioners, and politicians a key reference with which to situate current events in and relating to cultural China in a wider context.